City Of Melbourne

RMIT University

RMIT University

RMIT University's Bachelor of Fashion is globally recognised for developing fashion practitioners’ technical, creative and research capabilities.

RMIT University’s Bachelor of Fashion (Design) (Honours) is globally recognised for developing fashion practitioners’ technical, creative and research capabilities. The program offers a unique and future-forward understanding of fashion underpinned by critical thinking and challenging design expression. RMIT graduates are sought to work in high-profile organisations and many establish their own practices.

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Students

Bailey Jones

The designer's collection, ‘Per Ragazze’ is an exploration of femininity with Italian rustic charm. The materiality comprises of cotton and silk, which work together in a white, peach, olive, and limoncello colour way. The designer seeks to elevate accessible clothing by coupling feminine themes with architectural silhouettes.

Bella Redman-Brown

Redman-Brown’s practise is emotional and intuitive, a contemporary destabilising of nostalgia through the displacement of feminine archetypes. Creating hybrid shape through manipulation along with traditional and contemporary techniques including shibori hand-dying and digital prints, her work is a lyrical look at the body.

Caitlin Mullaly

'When the Curtain Falls' is a materiality-driven collection that carries the theme of ‘precariousness’ while endeavouring to apply this across a range of ubiquitous archetypes. Unconventional materials are combined with classic fabrications, resulting in juxtaposed archetypal garments which are tailored, pared-back and stylistically poetic.

Danielle Herbert

Danielle Herbert’s collection titled ‘Residue of the Dream’ explores the role of memory and how there is often confusion between what’s real and what’s imagined. Her collection features unbalanced silhouettes where garments hover and collapse then finally engulf the body.

Emily Watson

‘Active relaxation’ is a cruise collection which intends to offer a playful perspective on ‘new leisure’ dressing. Designs re-contextualise classic archetypes, motifs and fabrications into a contemporary context; specifically taken from swimwear, sportswear and loungewear.

Emma Frankcom

'Unreal Content' imagines how fashion would look if celebrity street style was replicated directly from paparazzi photos to fast fashion without accurately interpreting the elements that are out of view in two-dimensions. It offers a satirical rendition of the hidden elements of one of Bella Hadid’s hottest looks.

Geordie Tancheff

Tancheff’s collection ‘It’s Roundabout and it’s Somewhere Here’ features a versatile and wearable wardrobe containing garments that have all been subject to a system of design through making. Expect pieces featuring darker and neutral tones using mostly natural fabrics, formal and casual looks and dominant oversized outerwear.

Georgia Zulian

Zulian's work is influenced by concerns on over consumption of fashion and negative impact of textile waste. In the collection titled ‘What They Wore’, the designer aims to create a space for critical thinking within the design process and that of clothing consumption itself.

Hou Wa Fong

This collection – 'Stay in Bed' is based on the designer’s personal experience in finding emotional comfort through lying in bed and the touch of one’s hand. Garments each take elements from bedding with the wearer finding emotional comfort through interactions with each piece.

Jake Nakashima-Edwards

‘Faster Faster Faster Fashion’ is a speculative collection that offers an alternative to mainstream sustainability discourse through the exploration of paper as a textile. Fully recyclable, compostable and biodegradable, the designer sees paper as the perfect material for sustainable fashion.

Jordyn Smith

'Fashion’s Prometheus' is a collection based on the assembly of a range of found objects and imagery, with inspiration taken from Mary Shelley’s Frankenstein. Through purposeful collecting and curation as a method of engaging with forgotten memories and items, past narratives have been repurposed into garment form.

Lauren Farrell

Farrell’s collection titled ‘A Thing You Wear’ combines found and new fabrics to create a narrative of having a foot in both the past and the present. The collection contains no buttons or button holes, making each piece uniquely spontaneous.

Lucinda Connelley

This collection asks, ‘what does my jacket say about me?’ and ‘what do those pants mean to you?’ The project explores how garments retain physical evidence of the wearer, and how the body is used to create materialised memory with each piece aiming to personify into characters, which the wearer will then embody.

Madeleine Porritt

Capturing moments of faux pas, this collection is familiar, vulnerable and accessible. The designer explores the familiarity of dressing while creating statements which are often up to the viewers interpretation on the subject of material culture and patterns of behaviour associated with dress.

Nadya Kusumo

’925’ is a capsule collection for the modern women, inspired by the feminist movement of the 1980s that solidified women in workforce. This theme is translated into the collection by the hybridization of office and sporting archetypes. 90% of materials in the collection are made from second-hand garment and remnants fabric.

Paris Moschis

For his graduate collection, 'Case Study', Moschis thoughtfully analyses his evolutionary relationship to fashion, dressing, and how he defines men's clothing. The designer often references the clothing and style of not only himself but those around him, where the emphasis is on streamline silhouette and minimal styling techniques.

Phoebe Pendergast-Jones

'Honeymoon Phase' dresses a wedding-less bride. Intoxicated by ideals of love, the protagonist of this story practises a ritualistic romanticism that is hindered by the aftertaste of heartbreak. The collection marries everyday garments with bridal wear to set up a paradox between the romantic and unromantic.

Qianye Sun

Based on Sun’s cultural background, her collection is dedicated to exploring contemporary Chinese aesthetics and fashion. It focuses on the development of Chinese fashion and the change of people’s aesthetics from 1949 to the present. Garments are fashioned from corduroy, wool and organza and feature a bold colour palette.

Vanessa De Bono

‘Atelier_372’ is a collection which is influenced by collage, layering of imagery and digital manipulation. The collection heroes the accessories and footwear, contrasted to the dark palette of the garments that these 'fashion objects' are styled with.

Vathana Kol

Kol’s Self Sourced collection takes influence from contemplations of the Anthropocene and depleting natural resources due to overproduction and excessive consumption and waste. Through each look, the designer explores the potential of sustainable material resources.

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